In Torments of the Soul, Antonino Ferro revisits and expands on a theme that has long been at the heart of his work: the study of dreams during sleep and in the waking state, and the psychoanalytic narrative. Following Bion, he focuses on the importance of what he sees as the task of contemporary psychoanalysis for generating, containing and transforming previously unmanageable emotions with a clinical psychoanalytic context.

Antonino Ferro explores the concepts of ‘transformations in dreaming’, the session as a dream, individuals transformed into characters, the interpretation of these characters, and readings of them as the functioning of a single mind or as an analytic field created by the meeting of two minds: the client’s and the analyst’s. Here, a new identity, the analytic field, is formed from the reverie of both participants, which makes it possible to work on complex, nonlinear phenomena in a radical way, creating a ‘royal road’ to the unconscious communication of the patient.

Torments of the Soul contains a plethora of clinical vignettes from the author’s extensive psychoanalytic work with adults and children to illustrate the substantial theoretical progression he advocates here. Offering significant and important new interpretations of theories and ways of working with patients, this book will be essential reading for psychoanalysts, psychotherapists, psychologists, students of these fields and those interested in the human sciences.

This book presents a collection of articles on various aspects of current research on aging. These include model systems, cellular, biochemical and molecular aspects of experimental aging research, as well as selected intervention studies on age-related diseases.

Aging is a global challenge to human society. Children are always in a hurry to become adults, while adults produce offspring and add to the gene pool. However, after adulthood or the attainment of reproductive maturity, all physiological parameters of the living organism start to undergo the aging process. Old age sets in slowly but surely, and usually continues for a prolonged period. If vigor and vitality are the main advantages of adulthood, old age offers the rewards of experience and maturity.

Biologists ask questions such as: Why do we age? How do we become old? Is it possible to slow down, postpone or even prevent aging? In turn, medical experts ask: What are the diseases associated with old age? Are there medicines that can help affected elderly patients? In fact both groups are asking themselves how can we add more health to old age.

Healthy aging is the dream of every individual. But to achieve this, it is fundamental that we first understand the cellular, biochemical and molecular basis of the aging process in mammalian cells, tissues and intact living organisms, which can serve as experimental model systems in Biomedical Gerontology. Once the biology of aging is understood at the genetic and molecular levels, interventional approaches to aging and its associated diseases may be easier to plan and implement at the preclinical level.

Two entwined narratives run through the creation of Swordfishtrombones and form the backbone of this book. As the 1970s ended, Waits felt increasingly constrained and trapped by his persona and career. Bitter and desperately unhappy, he moved to New York in 1979 to change his life. It wasn’t working. But at his low point, he got the phone call that changed everything: Francis Ford Coppola tapped Tom to write the score for One From the Heart. Waits moved back to Los Angeles to work at Zoetrope’s Hollywood studio for the next 18 months. He cleaned up, disciplined himself as a songwriter and musician, collaborated closely with Coppola, and met a script analyst named Kathleen Brennan � his "only true love". They married within two months at the Always and Forever Yours Wedding Chapel at 2 a.m. Swordfishtrombones was the first thing Waits recorded after his marriage, and it was at Kathleen’s urging that he made a record that conceded exactly nothing to his record label, or the critics, or his fans. There aren’t many love stories where the happy ending sounds like a paint can tumbling in an empty cement mixer. Kathleen Brennan was sorely disappointed by Tom’s record collection. She forced him out of his comfortable jazzbo pocket to take in foreign film scores, German theatre, and Asian percussion. These two stories � of a man creating that elusive American second act, and also finding the perfect collaborator in his wife � give this book a natural forward drive.